Egor Otroshchenko. Century = text. Issue 2: 1902

Century = text. Issue 2: 1902
Egor Otroshchenko

Publication date: March 14, 2000

Poem of the Year

Dreams

Everything is raining and raining... Everything is still rocking
The top of a pine tree under a wet balcony┘
Oh, my days are dead! The night is coming √
And I come alive. And my life is dreams. And until dawn, the awakening of the messenger, -
I am in the world of accomplishments. I sleep happily.
Here are the narrow windows┘ And the white stairs┘
And everyone who is dear to me... And everything that I love. Quiet children, cheerful wanderers,
And those who were afraid that strength was not given...
All are now with me, all are now chosen,
By one love we are fused into one. What heavy waves of smoking,
What flowers of an unprecedented spring,
What prayers, what services...
┘┘┘┘┘┘┘┘┘┘┘┘┘┘.
What vivid, great dreams!
Z. Gippius. "Magazine for everyone" #2

Phrase of the year

Human! This is great! This sounds... proud!

M. Gorky . At the bottom. First published as a separate book, under the title “At the Bottom of Life,” by Marchlewski Publishing House in Munich, without indicating the year; went on sale at the end of December.

Book of the Year

A. Bely. Symphony. (2nd, dramatic). - M.

Theater Production of the Year

M. Gorky. At the bottom. The premiere took place on December 18 at the Moscow Art Theater.

“The unusual plot of the play “At the Lower Depths,” the popularity of its author, the brilliant performance of the roles by the best artists of the Art Theater, the literary merits of the play itself, the presence, finally, of the author himself in the theater - all this could not help but electrify the audience that filled the Art Theater yesterday. The success of the play appeared after the first act, when they began to persistently call the author. The appearance of M. Gorky was accompanied by thunderous applause, and he had to come out several times to respond to calls. The ovation for M. Gorky took on a particularly stormy character after the final scene of Act 3. The audience remained in the mood all the time. auditorium, calling the author an infinite number of times. The same ovation was given to M. Gorky at the end of the play. Of the performers, the greatest success were: Mrs. Knipper and Andreeva and Messrs. Stanislavsky, Moskvin and Kachalov" ( Unsigned . "Courier", December 19th).

Scandal of the year

On February 25, the Academy of Sciences elected M. Gorky and A. V. Sukhovo-Kobylin as honorary academicians of the category of fine literature .

“There is no doubt that today all newspapers are full of Maxim Gorky┘

Maxim Gorky - in all cases and a wide variety of sauces √ in parodies, biographies and anecdotes┘

"Tramp Academician", "Celebration in Maryina Roshcha", "Sensation on Khitrovka", "From the Stove to the Academy".

The sensation is truly terrible.

If two months ago someone had seriously proposed Maxim Gorky as an academician, the joker would have been called a heretic and, perhaps, even found in such a joke a mockery of the writer" (Courier, March 2).

On March 10, a message was published in the Government Gazette that “due to circumstances that were not known” to the Academy of Sciences, the election of Gorky, “brought to the inquiry in accordance with Article 1035 of the statute of criminal proceedings, is declared invalid.”

First publication

A. Bely. Symphony (2nd, dramatic). - M.

A.M.Remizov. Translation of A. Rohde's book "Hauptmann and Nietzsche" (together with V.E. Meyerhold). - M.

Controversy

A. Pletnev. Maksim Gorky. Critical essay. - St. Petersburg.

“They say that Gorky “idealizes the social stratum he describes.” We don’t think so. Without a doubt, among these people there are “leaders”, there are also “cattle”, as in any society. To some extent, the types derived are more like “ intelligent proletariat" than on genuine "tramps". But who can guarantee that this is not so in reality, that teaching and light do not gradually begin to penetrate from the top into the deep layer of the people? Gorky's stories illuminated with a sudden ray that "dark people" on which "intellectuals" are accustomed to look at as a soulless, almost bestial mass. Hence the enormous impression of this revelation of its kind."

Mikhail Moskal (MM Mitrofanov). The justification of evil. The pathos of M. Gorky. - M.

“We can observe two outstanding phenomena of our time in Russian society and literature. The manifestation of hooliganism among the intelligentsia and the extraordinary success of the works of Maxim Gorky┘

The works of M. Gorky, which are based on the tendency of hooliganism, that is, the justification of evil┘ should be recognized as bad books that are capable of creating more than one hooligan. So, we connect two facts - hooliganism and Gorky’s writing - into one whole course of Russian life...

Gorky, responding to the relaxed and unbridled will of man, flatters the ear, filling the reader’s soul with false and nasty fables and images; hence his success.

Portraying melancholy, the search for real life, Gorky never showed us either real life or real people. Denying existing forms of life, Gorky said nothing and did not create anything positive. And louder than Gorky were the deniers, but they did not do any good to people, but caused them harm, destroying ideals and faith in their souls.

Gorky's pathos now becomes quite clear to us. Its pathos is longing for something uncertain and hooliganism, that is, the destruction of existing forms, wild and aimless destruction, destruction for the sake of destruction.

Denying artistic merit in most of Gorky's works, we must pay full tribute to his talent. Gorky has enormous talent as a writer and an imagination of rare breadth, and it was only thanks to his negative mood that he could not create anything positive."

Selected Quotes

Zaitsev B. Wolves. "Courier", March 3

“This had been going on for about a week. Almost every day they were rounded up and shot. Dry, with shabby sides, from under which ribs protruded angrily, with dim eyes, looking like some kind of ghosts in the white, cold fields - they climbed indiscriminately and anywhere, as soon as they were raised from their beds, and senselessly rushed and wandered all over the same area. And the hunters shot them confidently and accurately. During the day, they lay heavily in more or less strong bushes, hiccupped from hunger and licked their wounds, and in the evening they gathered in groups and wandered in single file through the endless, empty fields; the dark, angry sky hung over the white snow, and they gloomily trudged across this sky, and it continually ran away from them and everything was just as distant and gloomy."

Chronicle

On March 12, the populist writer F.D. Nefedov died .

died On March 24, G.I. Uspensky .

On March 31, the editor of the magazine "World of God" V.P. Ostrogorsky died .

Characters and performers

Shestov L.

Philosophy of tragedy (Nietzsche and Dostoevsky) . "World of Art" #2, 4-9.

“Abnormality! This is a terrible word with which people of science have frightened and still continue to frighten anyone who has not yet given up the dying hope of finding in the world something other than statistics and “iron necessity.” Anyone who is trying to look at life differently , than is required by the modern worldview, he can and should know that he will be classified as an abnormal person. Classified - that would be nothing, maybe even a badge of distinction! The whole horror is that no one, absolutely no one living today, apparently he himself is unable to bear for long the thought of the possibility of a different understanding of the world.Every time it occurs to him that modern truths are still only the truths of their time, and that our “beliefs” can be just as false as the beliefs of the most distant our ancestors, √ it begins to seem to him that he has abandoned the only correct path and is heading straight towards abnormality...

There is an area of ​​the human spirit that has not yet seen volunteers: people go there only against their will.

This is the area of ​​tragedy. A person who has been there begins to think differently, feel differently, desire differently. Everything that is dear and close to all people becomes unnecessary and alien to him...

There is no greater misconception than the widespread belief among the Russian public that the writer exists for the reader. On the contrary, the reader exists for the writer. Dostoevsky and Nietzsche do not speak in order to spread their beliefs among people and enlighten their neighbors. They themselves are looking for light, they do not trust themselves that what seems to them to be light is really light, and not a deceptive will-o'-the-wisp or, worse, a hallucination of their disordered imagination. They call the reader to them as a witness, they want from him the right to think in his own way, to hope - the right to exist.

Idealism and the theory of knowledge directly proclaim to them: you are mad, you are immoral, condemned, lost people. And they appeal to the last possible authority, in the hope that this terrible sentence will be overturned...

Perhaps most readers do not want to know this, but the writings of Dostoevsky and Nietzsche contain not an answer, but a question. Question: do those people who are rejected by science and morality have hope, that is, is the philosophy of tragedy possible?

Bunin I.

New poems . - M.

"G. Bunin was previously in the role of nature describers - a genus, strictly speaking, completely unthinkable in poetry. It seemed to Bunin, like many who write poetry, that it was enough to describe accurately and in detail that evening, or that seaside, or that forest where he experienced a sad or joyful feeling so that this feeling would be transmitted to the reader, but poetry does not and cannot have any other content other than the human soul .

In "New Poems" Mr. Bunin unexpectedly switches to a different road. He adopts the themes of the Parnassians and the first decadents. This is not a random phenomenon. It shows that new art is also capable of “vulgarization”, that it is destined to move not only onto signs and posters, but also into the everyday life of current magazine literature.

If his first poems could be important for connoisseurs of “poems about nature,” then “New Poems” will undoubtedly be of interest to those who are not familiar with their foreign and Russian originals...

Samples of Mr. Bunin are yesterday's literature" ( Aureliy (V. Bryusov) . "New Way", 1903, #1).

“The real calling of Mr. Bunin’s handsome, but very modest talent, we think, was to draw simple-minded pictures of his native nature, morning and evening dawns, spring floods, snow-covered farmsteads, the cheerful moods of a young healthy soul. Unfortunately, as is often the case happens to our recent talents, - the poet wanted to rise above his abilities; perhaps the laurels of Mr. Balmont did not allow him to sleep peacefully...

But no matter how he freezes, like Mr. Balmont, no matter how he growls, like the poets from Scorpio, nothing comes of it. And for a very simple reason. It seems to us that Mr. Bunin is a naturally good-natured person, quite normal, without any storms or gaping abysses in his soul" ( Unsigned . "Russian Wealth" #7).

Gippius Z.

Third book of stories. - St. Petersburg.

"┘In general, the “Third Book” of Mrs. Gippius’s stories smacks of such aching boredom that one feels sorry for the poor author. Only evil boredom can squeeze out such, for example, confessions: “What are decadents, real, terrible? .. Decadents are those who reached the point of splitting and could not resist, fell into the captivity of extreme disharmony, and perish, because for them there is no longer any connection. Decadents are destroyed by their bodies. Decadents are destroyed by their soul. What when united gives strength, when separated there are only two weaknesses. Two daggers, sharpened to the fineness of a brittle needle; two daggers that could be forged into one sword!" Really, you have to be as bored as a “faience pug” to finish writing such a voluble" ( A.B. (A. Bogdanovich) . “The World of God” #7.)

Annensky I. F.

King Ixion . A tragedy in 5 acts, with a musical intermission. - St. Petersburg.

“At the present moment, Russian theater, or rather Russian art, is experiencing a highly significant moment in the history of its development.

The author of “Melanippe the Philosopher” has published his new work “King Ixion”.

The impression the reader of this piece receives can only be compared with the mood of a listener to the oratorios of Sebastian Bach. It is known that Goethe, listening to Bach’s Matthaus-Passion, “was as if present at the creation of the world.” The chaos of musical elements is brought into harmonious order by a mighty hand, the laws that later became the cornerstones for the works of Mozart and Beethoven are clarified for the first time.

The main significance of “King Ixion”, as well as “Melanippe the Philosopher” is based on those fundamental issues of dramatic aesthetics that I.F. Annensky touches on in these tragedies, and the practical solution of which they are" ( P. Sokolov. King Ixion . "Moscow Gazette", May 1).

"Northern flowers for 1902". - M.

“It is difficult to say anything about the physiognomy of the almanac, in which, along with Rozanov √, Volynsky participates, along with Merezhkovsky √ Baltrushaitis. I do not at all mean the size of the individual participants in the almanac. I only point out that everything contained in this collection is motley and varied in size , and therefore can hardly be considered as something unified and integral in spirit and direction...

Future critics and readers will accurately determine the size of each talent. For now, we just need to give each talent the opportunity to express himself fully, without compromise, without adjusting to the tastes of all-powerful critics or the public. From this point of view, the publishing activity of Scorpio is very attractive and deserves every approval. It will not create talent, but it can at least slightly raise the artistic level of our literature" ( D. Filosofov . "World of Art" #4).

“The publishers of Northern Flowers for 1902 insist on the absence of any partisanship in the choice of material,” says the preface to the collection. Partisanship, as an expression of certain social convictions or views on art, is, perhaps, not in it, because in the fictional and poetic samples placed there one can hardly find signs of any specific “convictions.” But the tastes of the publishers are clear, and they are so clearly visible in the choice of fictional material that not a single “party” magazine presents such monotony of stories as the non-party almanac “Northern Flowers” ​​( Unsigned . “Russian Vedomosti”, April 22).

Bely A.

Symphony (2nd, dramatic) . - M.

"1. It was a suffocating pain. The pavement sparkled dazzlingly.

2. The cab drivers crackled, exposing their worn, blue backs to the hot sun.

3. The janitors raised the ashes in a column, not embarrassed by the grimaces of passers-by, cackling with their brown-dust faces.

4. Commoners exhausted by the heat and suspicious townspeople were running on the sidewalks.

5. Everyone was pale and over everyone hung a vault of blue, gray-blue, sometimes gray, sometimes black, full of musical boredom, eternal boredom, with a sun-eye in the middle.

6. Streams of metallic heat flowed from there.

7. Everyone fled unknown where and why, afraid to face the truth.

1. The poet wrote a poem about love, but found it difficult to choose rhymes, but planted an ink blot, but turning his eyes to the window, he was afraid of heavenly boredom.

2. A gray-blue vault with a sun-eye in the middle smiled at him.”

“One of the extremely characteristic “uncritical” phenomena is “Symphony” by A. Bely, published by the Scorpio book publishing house┘

In general, she is not like anything, speaking without any desire to make puns. A. Bely has no predecessors either in form or in content, just as he probably will not have followers. This is something completely out of the ordinary. Is it fiction or philosophy? Story or essays? Who is the hero of the work? What is his main idea? How to convey in words the scheme of the author's intention? How to connect together scattered thoughts, half-thoughts and just lines that spanned 220 pages?

“It is impossible to understand her,” - this verse would be a good epigraph to the “Symphony”┘

Moscow became the Patmos of the decadents and the birthplace of their apocalypses. It is not the business of criticism to interfere with them or evaluate them. Maybe they will be evaluated and studied elsewhere. A literary observer has the right to note these works as a well-known sign of the times and pass by" ( A. Izmailov . Literary impressions . "Birzhevye Vedomosti", August 6).

“By a strange whim of the publishers, the new edition ridicules many of the previous creations published by the same Scorpio.

"Symphony" laughs at the fiction of "mood", at modern mystical tendencies, at the desire to glorify in Dostoevsky not so much a great psychologist as a mediocre sexton... anyone who reads "Symphony", it seems to us, will forever be immune from admiration for stories, in which “musically” tells how the wind fell from the roofs” ( I. (I.N. Ignatov) Literary News . “Russian Vedomosti”, May 9).

Art forms . "World of Art" #12.

"By arranging the fine arts in order of their perfection, we obtain the following five main forms: 1) architecture, 2) sculpture, 3) painting, 4) poetry, 5) music.

Every art form is not completely closed. Elements inherent in all forms are intricately intertwined in each form. Moving to the fore, they form, so to speak, the center of this form... Elements of a more perfect form, penetrating into a less perfect form, spiritualize it. And back.

It is characteristic that each overlying art contains all the underlying ones, translating them into its own language. The arts of form are contained in painting in the sense that it, being able to convey these forms on a plane, also adds the possibility of colorful transmission of them. Poetry, containing the image of all reality, also contains spatial forms. Music┘ embraces all possible combinations of reality┘ In the 19th century, music developed quickly and powerfully. Now she involuntarily attracts attention to herself. She influences .

An involuntary thought appears about the further nature of this influence. Will not all forms of art tend more and more to take the place of overtones in relation to the fundamental tone, that is, music?

Struve P.

On various topics (1893-1901) . Digest of articles. - St. Petersburg.

"The collection of articles by P.B. Struve represents the largest literary phenomenon for this year. Struve rightfully occupied and occupies first place among the young generation of writers who entered literature in the mid-90s. His horizons are much wider than the field of view of his colleagues in pen; he respects and appreciates theoretical thought and literature in general and has the courage to think out his thoughts to the end; the collection of articles lying before us reveals in the author a major journalistic talent" ( S. Prokopovich . "Education" #10).

Bryusov V.

Unnecessary truth. (About the Moscow Art Theater) . "World of Art" #4.

“Not only theatrical, but also no other art can escape the conventions of form, cannot turn into a recreation of reality...

Wherever there is art, there is convention. To fight against this is as absurd as demanding that science do without logic and explain the phenomena of the world without a causal connection.

It’s time for the theater to stop faking reality┘ The stage should provide everything that will help the viewer to easily restore in their imagination the situation required by the plot of the play┘ If they want to portray the wind, there is no need to whistle behind the scenes and pull the curtain with a string: the actors themselves must portray the storm by behaving just as people always do in a strong wind. There is no need to destroy the situation, but it must be consciously conditional. It should be, so to speak, stylized.

Creative feelings constitute the only reality, the only reality on earth. Everything external, in the poet’s words, “is only a dream, only a fleeting dream.” Let us in the theater be involved in the highest truth, the deepest reality. Give the artist his place, put him on the pedestal of the stage so that he dominates it like an artist.

With his creativity he gives content to a dramatic performance. And in the situation, strive not for the truth, but for plausibility. From the unnecessary truth of modern scenes I call to the conscious conventions of ancient theater."

Andreev L.

In the fog . "Magazine for everyone" #12.

"G. Andreev does not own either his plan or the details of the stories - he, starting to write, becomes their slave. That, if you want, disinterested love for dirt, the germ of which lives in almost every person - in Mr. Andreev and his works has reached a lush, almost painful development. It is as if he is sitting on the edge of the road after the autumn rain, slowly picking up the liquid mud with his hand and, squeezing his fingers, admiring how it smacks and creeps down. There is nothing in this except an imperiously endearing, peculiar pleasure: this is the opposite, but also unalloyed - aestheticism. It is in vain that they want to impose on Mr. Andreev some thoughts, tendencies, morals: he is a “pure” artist. And in vain those who admire him think that they are admired by the strength with which the “despicable” is depicted vice and "outrageous" living conditions. There is none of this. They just watch how the dirt smacks between the fingers, how intoxicated the person sitting by the road is with it - and little by little they become infected with this intoxication, because everyone is inclined to it. This is that sweetness, secret and truly terrible, which was previously suppressed and hidden, but now, one way or another, has become permitted" ( Anton Krainy (Z. Gippius) . "New Way", 1903, #2).

"Dawn. Russian-Slavic collection. Issue 1." - M.; "Moscow. Literary and political collection. Issue 1." - M.

" Bless, brothers, the old saying.

The fate of our homeland is written in the great book of God - this is how they believed in the old days in Rus', and our ancient native thought anxiously and passionately peered into the dark distances of the future, those distances where sheet by sheet the great charter of the destinies of the universe will be revealed...

Where does it come from? What does this majestic-gaer tone mean, a mixture of a raeshnik and a sexton? √ the amazed reader will ask. This is √ "good news" about the "rebirth" of Russia, no more and no less, as two collections announce to us - "Dawn" and "Moscow", in which the whole Russian world is proclaimed about a new good and joyful miracle, about a Slavophile campaign against every enemy and the adversary who has now filled “holy Rus'”. Ringing tambourines and tambourines, or in Moscow, “all the bells,” a group of Slavophiles hitherto unknown to the world, who by some miracle survived the general defeat that befell (in their words) “Holy Rus',” gathered in vain and in love and , “straining her mind, wrinkling her brow,” with efforts and efforts corresponding to the importance of the task, published two collections full of warnings, wise instructions and enthusiastic revelations.

The revival of Slavophilism is what these collections primarily signify, which do not stand alone, but they are also accompanied by other unambiguous phenomena... We admit, we thought that Slavophilism was a dead historical term, denoting a long-obsolete historical phenomenon. It turns out that this is far from true; it, at least, itself declares that it is alive and carries within itself nothing other than the “rebirth of Russia” ( A.B. (A. Bogdanovich) . Critical notes . “The World of God” #9).

Volynsky A.

Contemporary Poetry . "Northern flowers for 1902".

“Young Russian poetry begins with Nadson. This talented man rose to the heights of incomprehensible popularity. The book of his poems was sold in a huge number of copies. He died early from consumption, but his name remained for a long time in the eyes of the younger generation surrounded by some kind of radiance.

Deeper and much more original than Nadson’s talent is Minsky’s talent. He was the first to outline some new moods in Russian poetry and cast the shadow of future decadence.

Merezhkovsky can be called an excellent versifier, as well as an excellent stylist in prose.

After Minsky and Merezhkovsky, we need to put Ms. Gippius... This is a real poetess of sensations, not strong, somewhat monotonous, but subtle and original.

Balmont must be recognized as the greatest decadent poet of our time. Balmont enjoys, with certain reservations, universal recognition... In fact, despite the rhetoric of somewhat artificial demonism, the pretentious fabrications in titles and themes, Balmont’s poetry is still full of its charm.

Speaking about modern Russian poetry, it is necessary to place Fofanov’s great, perhaps even remarkable talent in a special, high place. Everywhere you look, you can’t help but see this large, twinkling star. Sometimes it even seems that over time he will overshadow all other young Russian poets, because he has tremendous spontaneity, which none of the decadent poets have, whose work is imbued not only with ideology, but also with rationality.

Something akin to Fofanov is represented by Ldov. But first of all, he is a convinced and ardent idealist... Some kind of Kantian in Russian poetry, with some naivety and great warmth!

It is also impossible not to note Lokhvitskaya’s charming, purely erotic talent. Among modern poets, she occupies a completely independent place...

There are still several poets who are not devoid of talent, although they are not so great and not so defined as to speak about them separately. Such are Lebedev, Bunin, Fedorov, Shuf, Tan, Melshin-Yakubovich, who all work hard in modern journalism and publish collections of their things."

Shulyatikov V.

A few words about literary "impoverishment" . "Courier", March 18.

“A pessimistic view of the current state of Russian fiction has, as we know, become very widespread. “Literary timelessness” is the subject of constant complaints heard both in society and in the press┘

That modern Russian fiction is going through a period of crisis is not subject to the slightest doubt. There is also no doubt that it acquires a character completely different from what it had before.

Russian intelligent society has long been accustomed to looking at a fiction writer as a sage called upon to resolve the demands of life... modern fiction writers cannot teach the reader much. On the contrary, they themselves are just learning to live. They stand in the face of growing life as if in bewilderment - they are only in a hurry to observe it, they are in a hurry to convey to the reader their first impressions that struck them, to note but not clarify the contradictions that they encounter."

Other works

Veresaev V.V. At the turn . "The World of God" #1-3.

Stories. Volume II . - St. Petersburg.

Naydenov S. Children of Vanyushin . - St. Petersburg.

Kuprin A. At the circus . "The Peace of God" #1.

Swamp . "The Peace of God" #12.

Andreev L. Abyss . "Courier", January 10.

Second, expanded edition of "Stories" .

Zaitsev B. Earth . "Courier", January 20.

Mount Gloomy . "Courier", October 6.

Bunin I. Stories. T. 1 . - St. Petersburg.

Chirikov E. Romance in a Cage . "Russian Thought" #1.

Svirsky A.I. Criminal (prisoner's notes) and stories. - St. Petersburg.

Dobrolyubov V.A. Lies Messrs. Engelhardt and Rozanov about N.A. Dobrolyubov, N.G. Chernyshevsky and the clergy . - St. Petersburg.

Soloviev E. Essays on the history of Russian literature of the 19th century . - St. Petersburg.

Engelhardt N. History of Russian literature of the 19th century. Volume one. 1800-1850 . - St. Petersburg.

Mezier A.V. Russian literature from the 11th to the 19th centuries inclusive. Bibliographic index. Part II. Russian literature of the 18th and 19th centuries. With a foreword by N.A. Rubakin . - St. Petersburg.

Gorky M. Bourgeois. Scenes in Bessemenov's house . Dramatic sketch in 4 acts. - St. Petersburg.

James Lynch (L. Andreev) and Sergei Glagol (S. Goloushev) . Inspired by the Art Theater . - M.

The first book of the Wanderer "Stories and Songs. Volume One" . - St. Petersburg.

Belousov I.A. In native fields . Poems. - M.

Chekhov A.P. Bishop . "Magazine for everyone" #4.

Boborykin P. Confessors . "Bulletin of Europe" #1-4.

Collection "Book of Stories and Poems" . - M.

Merezhkovsky D.S. L. Tolstoy and Dostoevsky. Volume 2. Religion of L. Tolstoy and Dostoevsky . - St. Petersburg.

Benoit A. History of painting in the 19th century. Russian painting. Part II . - St. Petersburg.

Ovsyaniko-Kulikovsky D.N. Issues in the psychology of creativity . - St. Petersburg.

Pertsov P. First collection. Slavophilism. √ Literature and theater. √ Travel stories . - St. Petersburg.

Collection "Problems of Idealism" . - M.

Meisner A.F. Poems. - St. Petersburg.

Avseenko V. People and life . Novels and stories. - St. Petersburg.